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This book explores how the writers, poets, thinkers, historians, scientists, dilettantes and frauds of the long-nineteenth century addressed the “limit cases” regarding human existence that medicine continuously uncovered as it stretched the boundaries of knowledge. These cases cast troubling and distorted shadows on the culture, throwing into relief the values, vested interests, and power relations regarding the construction of embodied life and consciousness that underpinned the understanding of what it was to be alive in the long nineteenth century. Ranging over a period from the mid-eighteenth century through to the first decade of the twentieth century—an era that has been called the ‘Age of Science’—the essays collected here consider the cultural ripple effects of those previously unimaginable revolutions in science and medicine on humanity’s understanding of being.
Countess Appollonia Zulmer – beautiful, rich, and popular – can have any man she wants, at least until she meets Count Wiemar. Interested only in submissive, uneducated and unworldly women, Wiemar rejects Appollonia in favour of Julia, a simple woman whose primary joy in life is to obey her husband’s will. Despondent and then furious, Appollonia vows revenge, becoming Julia’s intimate confidante, opening her eyes to the limitations of patriarchy, and convincing her that her growing feelings for Count Darlowitz, Wiemar’s best friend, are no crime. An epistolary novel about the destructive power of emotion, The Passions offers new insights into early feminism, romantic understandings of emotion and the sublime, and early nineteenth-century religious debates. It is an engrossing, powerful work of nineteenth-century literature, featuring one of the most memorable female villains of all time. Available to modern audiences for the first time, The Passions will engross literary scholars and casual readers alike.
Despite the fact that William Blake summarises the plot of Visions of the Daughters of Albion (1793) in just eight lines in the prefatory ‘Argument,’ there are several contentious moments in the poem which continue to cause debate. Critics read Oothoon’s call to Theotormon’s eagles and her offer to catch girls of silver and gold as either evidence of her rape-damaged psyche or confirmation of her selfless love which transcends her socio-sexual state. How do we reconcile the attack of Theotormon’s eagles and the wanton play of the girls with Oothoon’s articulate and highly sophisticated expressions of spiritual truth and free love? In William Blake’s Divine Love: Visions of Ooth...
The Routledge Companion to Romantic Women Writers overviews critical reception for Romantic women writers from their earliest periodical reviews through the most current scholarship and directs users to avenues of future research. It is divided into two parts.The first section offers topical discussions on the status of provincial poets, on women’s engagement in children’s literature, the relation of women writers to their religious backgrounds, the historical backgrounds to women’s orientalism, and their engagement in debates on slavery and abolition.The second part surveys the life and careers of individual women – some 47 in all with sections for biography, biographical resources, works, modern editions, archival holdings, critical reception, and avenues for further research. The final sections of each essay offer further guidance for researchers, including “Signatures” under which the author published, and a “List of Works” accompanied, whenever possible, with contemporary prices and publishing formats. To facilitate research, a robust “Works Cited” includes all texts mentioned or quoted in the essay.
The stanzas beginning, 'And did those feet' are among the most famous works written by the Romantic poet and artist, William Blake. Set to music by Hubert Parry in 1916 and renamed, 'Jerusalem', this hymn has become an emblem of Englishness in the past century, and is regularly invoked at sporting events, public and private ceremonies, and, of course, as part of Last Night of the Proms. Yet when Blake first engraved his lines in his epic work, Milton a Poem, he had been tried for sedition. Likewise, although Parry was commissioned to compose his music as part of the war effort by the organization Fight for Right, he soon removed permission for that group to perform his hymn and instead gave ...
• Penny Dreadfuls and the Gothic uncovers neglected Gothic texts of the nineteenth century which are crucial in understanding working-class popular culture. • The approach of this study of penny dreadfuls is vast and eclectic, ranging from data-driven publication data to close textual analysis of these texts to adaptations of penny fiction. • This title covers a broad range of penny texts, some of which have never before been written on.
"In 1952, he put together an ensemble of engaging young singers and instrumentalists, who gave lively, expressive interpretations of medieval, Renaissance, and Baroque works. Their presentation of the liturgical drama The Play of Daniel won them international fame. Under Greenberg's leadership, they recorded extensively and toured Europe, the Soviet Union, and Latin America. At the height of his and Pro Musica's success, Noah Greenberg died at the age of 47. In Pied Piper, James Gollin not only relates Greenberg's tragically short, but highly colorful life story, but he sets the man in the rich context of America's rise to postwar political and cultural prominence."--Jacket.
Often linked to the works of early Romanticism, Sophie Cottin's Malvina (1803) was a bestselling sentimental novel. First published in France, the English translation by Elizabeth Gunning – a prolific novelist in her own right – allowed Cottin’s book to achieve success internationally. This is the first modern scholarly edition of Malvina.
A cultural history of Anthony Hope's The Prisoner of Zenda that explores its afterlife including how it was adapted for stage and screen, woven into narratives about the Cold War, and influenced children's writers such as Frances Hodgson Burnett and Meg Cabot.
Born in Dublin into the Anglo-Irish gentry, Anna Maria Hall moved to London when she was fifteen where she became famous for her books, plays and travel writing. It was her book, Sketches of Irish Character (1829) which made her a household name. This modern critical edition is based on Hall's third, revised edition of 1844.